Miles Kane

Last night Valencia’s live music pulse hit a fever pitch. At Sala Moon, the intimate yet electric venue on Sant Vicent Màrtir, rock devotees packed in to witness Miles Kane — the British indie-rock force and co-founder of The Last Shadow Puppets — deliver a performance that didn’t just meet expectations, it blasted through them. The date, 17 February 2026, felt like a celebration of guitar-driven music itself, and it was Valencia’s turn to be swept up in Kane’s restless energy.

From the moment fans began queuing outside in the early evening chill, the buzz was unmistakable. Moon’s compact street façade belied the intensity waiting inside. By 20:30, as doors opened and eager concert-goers spilled into the venue, the air was thick with anticipation — a mix of local scenesters, longtime Kane devotees and curious first-timers buoyed by the buzz around his latest album, Sunlight In The Shadows.

Before Kane took centre stage, City of Fury — a Valencia-bred indie rock outfit — kicked off proceedings with a gritty, modern sound that married analog synth textures with taut, guitar-led rock riffs. Formed in 2021, the quartet has been steadily building a foothold in the local scene with a sound that nods to classic British indie while carving its own bold identity. Members Jordi Barell, Leandro Purry, Mark Elizondo and Adrian Blanco delivered a tight, confident set that had the crowd cheering early — a perfect warm-up that set the tone for the night. City of Fury’s set wasn’t just filler — it was a declaration. Between jangling hooks and punchy rhythms, they proved they belong on stages of this calibre, warming up the room with a blend of melodic sensibility and raw energy that clearly impressed early arrivals.

When Miles Kane finally strode onstage around 21:00, guitar in hand and backed by a crack band, the cheers were instantaneous. From the first chord, the vibe was relentless — part swagger, part vintage rock theatre, all heightened by Kane’s distinctive voice and muscular stage presence. His setlist — a mix of Sunlight In The Shadows material and beloved cuts from his two-decade career — was crafted with pacing and punch. Tracks from the new album — a record that channels psych-rock influence into taut, hook-laden compositions — leapt off the stage with immediacy, the crisp Moon sound system capturing every vibrato and melodic turn.

Throughout the night, Kane moved fluidly between eras: there were nods to classics that anchored his solo discography, subtle winks to his work with The Last Shadow Puppets, and electric renditions that showcased the synergy between him and his band. The crowd — a fervent mix of studded-jacket rock fans and indie devotees up for a good time — sang along at every chorus, turning the venue into a communal, throbbing heart of rock energy.

What made the night stand out wasn’t just the performance, but the shared experience inside Sala Moon’s walls. The audience wasn’t passive; they were participants — voices raised in singalongs, fists pumping, bodies swaying in unison. Between tracks, moments of quiet appreciation would break out into raucous applause, evidencing both respect for Kane’s craft and joy for the return of live, unfiltered rock performance. By the encore, the room was a sea of smiles and sweat — a testament to the way Kane’s music connects on both a visceral and communal level. It was one of those gigs where the venue itself becomes an accomplice: small enough to feel close and immediate, yet big enough to host an unforgettable sonic blast.

As the lights came up and the final chords still echoed in the mind, there was a sense that Valencia had just been part of something special. For Kane, it was another vibrant stop on a European tour that’s been garnering acclaim and packed houses. For the crowd, it was a night where rock’s raw power reaffirmed its place in the city’s cultural rhythm. If City of Fury’s confident opening and Kane’s blistering headline set are anything to go by, Valencia’s live music scene is thriving — and nights like this are becoming essential.

Words and photos: Rhyan Paul